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Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Course/ Module No. ADZ6222
Module Name: Research and Develoment
Project Title: Gesamtkunstwerk Project
Submission Dates: PORT 1 Deadline 13th December 2019
9th December 2019
TECHNICAL REPORT:
GESAMTKUNSTWERK BOWL
500 word Learning Journal Entry
Ideas Underpinning my Core Process Development
My design for the Gesamtkunstwerk bowls
encompasses various techniques and genres, from
mathematic derivations,to glaze applications which
symbolise references to the coast, sea, marine life and
their environmental effects. The choice of clay body,
various construction techniques and glaze
investigations are explored and tested to achieve the
creative ambitions of my designs for Gesamtkunstwerk
bowls one and two.
The first Gesamtkunstwerk bowl is a
segmented design based on the parabolic cross
sections that define a bowl’s form. The bowl is
constructed using a finite number of cross sections, it
can be considered that this form exposes the bowl in
component parts illustrating the symmetry of the form ;
in doing this the form still maintains integrity, but takes
on a different existence and imparts other references.
The design progressions for the second
Gesamtkunstwerk bowl led me to considering several
iterations arising from the explorations of the first bowl;
the second bowl contains two bowl components as did
the first but displays and pivots between functionality
and sculptural disciplines.
Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Processes Used in the Construction of the Bowl
The Construction of both Gesamtkunstwerk bowls
involved several technical disciplines such as throwing
challenging wide and shallow bowl forms, accurate slab
building, careful clay body choice, challenging component part
construction, and several different glaze decisions with
different applications
The slab built cross sections of the form were bisque
fired in a bowl which was thrown to achieve the desired shape,
this bowl acted as a former to maintain the segments’ shape
whilst firing. This process demanded two different former
bowls which were thrown on the wheel.
Throughout this project I have attended tutorials to
develop my throwing skills as well as glazing knowledge and
techniques. The development of these skill sets has enabled
me to meet my creative ambitions, and to overcome any errors
and obstacles met in development of creating sculptural and
functional forms.
The bisque fired segmented bowls were joined
together by the glazes fusing in the kiln. For the first
iteration the forms were glued together, which worked
but I felt that the process could be progressed to use the
glaze to unite the forms; however there were errors in
this development as the upper bowl slid to the side of the
lower bowl when the glaze melted in the kiln firing. I
corrected this error by inserting a spigot and socket
between the two sections
Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Clay Bodies
Both part one and two bowls demanded careful
consideration of various clay bodies for qualities such
as aesthetics and refractory content to enable the
construction of the sculptural elements. Having
evaluated my constructions in Ash White I reconsidered
my techniques and material choices. I decided to
change the clay body of the form from Ash White to the
firmer body of White St. Thomas; this still met with the
white aesthetic which I am looking for as a bright
canvass for my glazes, but also has the benefit of
containing refractory grog to give strength and stability
to my intended forms.
I made several iterations of each bowl,
developing my practice as I continued the project. For
the second iteration of the part two bowl I tested
Reduction St. Thomas because I wanted to see if the
clay’s high iron content increased the vibrant colours of
the Barium and Copper Carbonate glazes. I also tested
raku clay to create the sculptural tendrils of the piece as
this clay has a high refractory content enabling the
forms to maintain their sculpting; however the aesthetic
of a salmon pink colour which the raku clay has after
firing did not meet with my intentions. I researched
glazes and slips to correct this appearance and tested
a copper carbonate vitreous slip to apply to the clay.
Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Glaze Testing
Two Bariun Based Glazes: 1 and 5 Part Copper Carbonate 1280°C Cone 9 in Oxidation
Rutile Crater Glaze 1280°C Cone 9 in Oxidation
Material Percentage
Nepheline Syenite) 20 Barium Carbonate 40 Lithium Carbonate 4
Flint 10 China Clay 19
Copper Carbonate 1 5
Material Percentage
Nepheline Syenite) 60 Barium Carbonate 18
China Clay 11 Silica – Quartz 10 Silicon Carbide 2
Rutile 2
Several glazes were
researched for their qualities of
aesthetics and textures to meet
creative ambitions. Investigations
were made into Barium based copper
carbonate glazes in combination with
silicon carbide and rutile glaze
recipes. The research of these glazes
was to consider if they would yield
the creative results that I was trying
to achieve; a marine narrative of
shaded blues from copper carbonate
ratios in barium base glazes, and
barnacle encrusted themes from
silicon carbide crater glazes.
Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Test Tile Allocation
Ash White Clay Test Tile Number
Number of coats Applied
Glaze Applied to Bottom half of tile
Glaze Applied to top half of tile
1 2 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
2 3 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
3 6 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
4 8 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
5 6 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
7 6 coats Barium Carbonate with 1 part Copper
Carbonate
Barium Carbonate with 5 parts Copper Carbonate
5 2 coats Applied on centre of tile over Barium Glazes
1.Silicon Carbide Glaze 2. Silicon Carbide Glaze with Orange Stain 3. White Slip
7 2 coats Applied on centre of tile over Barium Glazes
1.Silicon Carbide Glaze 2. Silicon Carbide Glaze with Orange Stain 3. White Slip
Glaze tests were made in singular and
combinations of glazes on standing test tiles as
I considered that the barium glazes which I was
testing contain strong fluxing agents. I tested
glazes as I researched them and recorded my
findings.
Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project
Evaluation
I consider that this project has developed my technical skills and understanding of
materials and process; I feel that I made good progress formulating a process which
facilitated the construction of my design. My throwing techniques are improving with skills
learned in throwing tutorials and design led focus making of challenging form iterations. The
project has been a great advantage to me in the investigation of glazes which informs my
research for my dissertation on glaze development. Tutorials have given me guidance and
facilities to explore glazes to develop recipes and applications to meet my ambitions.
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